A big-HEDDed FATSO

I recently picked up a HEDD, and while I really like it for certain types of things, it seems like it's pretty easy to go overboard with the effect. The "triode" distortion, in particular, doesn't sound very musical to me... it kinda reminds me of the crappy DRG "radiance generator" function on my old Finalizer, which I didn't like either.

So I'm wonderin'... any of U guys used the FATSO? How would ya compare/contrast it to the HEDD?

They're entirely different animals, one works in the analog domain, the other in the digital domain...one offers compression, the other only offers the compression characteristics often found in a vaccuum tube, both add different sets of distortions/harmonic artifacts.

As for the 'triode knob' problem you're finding with the HEDD...there are a couple of thing you need to understand, then I believe you will find it a useful tool.

First, it is a digital model of a well designed Triode circuit. As you turn the knob clockwise, you are changing the model of increasing the plate voltage to the tube in a triode circuit. A triode, by it's nature, when pushed, creates a lot of "even order harmonics"...and when pushed too hard, this will often sound like muddy/washy pool of $*^t. BTW, the nature of a 'pentode' circuit creates 'odd order harmonics' when pushed, which we often perceive as 'airier', pushed too far it'll sound grainy and nasty.

It is very easy to overuse the processor on the HEDD. It's a fairly subtle effect, so in the early stages of learning to use the unit, it is quite common to 'overuse' the unit...leading you down a sonic path you may not necessarily care to go.

I have found in my use of the unit that once I find a setting that I like, I back off each of the knobs by "1/2 a number", otherwise when I listen to the product a day or two later I realize that I've used too much of the 'processing'.

In terms of how I use both of the units, I find I generally use the 'processing' of the Fatso Jr. before my A/D conversion, and the HEDD both for the A/D conversion [without employing the processing], or with a little processing at the end of a mix on the way into the final 'digital storage device' [be it DAT, H-D, etc.].

I have also used the HEDD to add a bit of character/depth to tracks that seem to require it that are already in the digital domain. I do this by way of a 'digital bounce' through the processing unit, and lay the new/processed sound onto another track, then realign that track in time with the rest of the music.

Morphine is a wonderful drug, it is truly one of the great pain killers ever invented. If it's misused, the user will often turn blue and die. Consider your HEDD unit 'audio Morphine', and be a tad conservative in your use of the product and I think you'll find it will be one of the more helpful devices in your arsenal.

Fletcher-- thanks for the tips. Am obviously still getting used to this box. The "1/2 a number" principle is one to live by.... in many, many different areas of life it seems.

I'm still somewhat befuddled that the HEDD has such a reputation as a final mix/mastering type of processor. I really prefer the effect on individual instruments, cuz you can tweak the knobs and really find the sweet spot for each track. (Doing any "mastering" at my place always makes me queasy anyways... best leave that voodoo stuff to the pros.)